Ad Infinitum begins a new cycle.
After their first three chapters, the band comprising Melissa Bonny (vocals, Malefistum, ex-Evenmore, ex-Rage of Light), Adrian Thessenvitz (guitar, Schwarzlicht), Niklas Müller (drums, Devilizer, Fallen After Midnight) and Korbinian Benedict (bass) unveil Abyss, their fourth album, on Napalm Records.
My Halo is immediately tinged with a modern mix in which the bass plays an important role in fuelling the dark approach, nuanced by the rest of the instrumental and Melissa‘s vocals, which add the brightest touch. The break brings the aggression, thanks in particular to the saturated vocals, but we find it again on Follow me Down and its heavy, jerky Prog approach only nuanced by the softer vocal parts. The track quickly becomes catchy, as does Outer Space, which features some futuristic samples and almost joyous vocal flights, contrasted by the backing vocals, which maintain an interesting duality. The end of the track is relatively calm, but Aftermath brings a touch of aggression back with groovy effective patterns, which we find again in a slower but equally heavy way on Euphoria, recreating an accessible power ballad atmosphere. The saturated choruses remain, in my opinion, the most effective parts, but the airy refrains allow you to breathe before Surrender places its heavy, sometimes spasmodic Industrial influences, but the band remains in haunting melancholy with Anthem for the Broken, adopting much the same methods to make the track intriguing. The choruses are more sing-songy and melodious, but the musicians pick up speed again on The One you’ll Hold On To, returning to energetic riffs that would motivate an entire pit in no time, while remaining easily singable on the choruses. The album continues with Parasite, featuring Metalcore accents and an upsurge in saturated vocals, before coming to a close with Dead End, where the rhythm section moves towards livelier Nu Metal roots to accompany the enthusiasm of the vocalist and her powerful backing vocals.
The earbook version of the album also contains a bonus track, the orchestral version of My Halo, the first composition, which retains its energy but is highly theatrical, removing all traces of bass, drums and guitar to concentrate on keyboards, confirming the strength of the track.
Ad Infinitum‘s musical personality once again asserts itself in modern tones with Abyss, without denying its sometimes darker Symphonic roots. The band confidently enters a new era of its existence.
80/100